Aimeri, Aimeric de Sarlat.

Aimeri de Sarlat.

I.

Quan si cargo 'l ram de vert fueilh, 

E l' auzelet uns, dui e trei

Penson d' amor e de dompnei, 

E contra 'l rai si fan garueilh, 

Comens mon chan ab lo temps de doussor, 

E quar m' agr' ops q' ab la novella flor 

Uns novells jois mi dones jauzimen, 

Qu' estat ai sol ses amor lonjamen.

Ar for' el sobeiran escueilh

D' amor, s' auzes clamar mercei,

E portera senhal de rei,

E fora plus ges que no sueilh,

E penr' yvern per bel temps de pascor,

E freida neu per estiu ab calor,

E prometre per donar mantenen,

E lonc esper per atendre breumen.

Tart er qu' ieu per leis mi despueilh,

Ni la tenha, ni la manei,

Quar tan tem son ric senhorei

Qu' ieu cug dir foudat et ergueilh; 

E m sui cubertz de ma granda tristor, 

E trac l' afan de las penas d' amor,

E vauc ves tal franc et obedien

Qui ja per mi non sabra mon talen.

Obs m' agra parlesson miei hueilh,

Qu' en nul autr' amic no m' en crei,

Quar m' an mes en tan gran esfrei

Que disseson so don mi dueilh

A leis cui tenc per dona e per senhor,

Que m dones joi e m leuges ma dolor,

Qu' ieu trac l' afan de l' amador sufren

Que seila 'ls mals, e 'ls bes gieta prezen.

Dona, qu' es en l' aussor capdueilh 

Sobre totas cellas c' om vei, 

Merce us clam que l' aiatz de mei, 

Que vas nuill autra no m destueilh; 

Que merce deu hom trobar ab valor, 

Et amors deu chauzir fin amador; 

E s' ieu ab vos non truep d' amor guiren, 

Amors e pretz son nom ves mi desmen.

Dona de pretz, senhoressa d' amor,

Fina beutat ab natural color,

Pos en vos es tot aisso ab joven,

Esser i deu merces ab chauzimen.

Chansos, vai t' en tan com poiras, e cor 

Dreg a 'n Guiraut don aug vera lauzor 

De Papion, e mezura e sen

E pretz entier ab laus de tota gen.

II.

Fis e leials, e senes tot enguan,

Aissi com cel qu' a conquistat amors,

Aurai en patz sufertas mas dolors,

Qu' anc no m' anei planhen ni rancuran;

Et ai amat longuamen dezamatz

Vostre gen cors, dona, cui me soi datz;

E pos merces ren ab vos no m valria,

Partirai m' en ieu? non, qu' ieu non poiria.

Ans atendrai sufren e merceian

Tro que de vos aia qualque secors,

Qu' a tot lo meins m' er l' atendres honors,

Bona dompna, si be m trac greu afan;

Quar pro val mais ricx esperars onratz

Q' uns aunitz dos de c' om no fos paguatz;

Per qu' ieu serai tant amicx ses feunia,

Tro que us apel, senes mentir, amia.

Bella dompna, foudat fas per semblan,

Quar en chantan retrac vostras lauzors

Ni la beutat don sobratz las gensors;

Obs mi fora que us anes oblidan,

Qu' ergueilhs vos creis e us merma humilitatz

On plus vos vau membran vostras beutatz

Ni la ricor qu' es aut sobre la mia;

Dir n' ai doncx mal ieu? no, qu' ieu mentiria.

Mil vetz m' aurai acordat en pensan

Cossi us pregues, pueis rete m' en paors,

Quar oblidar mi fai vostras valors;

Si com hom vai dins lo tertre camjan

Que s' oblida so don plus es membratz,

Ieu quan vos vei soi del tot oblidatz;

Mas per so m plai, quar faillimens seria,

S' ieu pel deman lo bel solatz perdia.

Dompna, ben sai qu' a vostra valor gran

M' aonda 'l cors, e sofranh m' en ricors;

E si del plus li podetz far clamors,

Vos et amors en siatz a mon dan;

E si per so, dompna, m' ocaizonatz

Quar no soi ricx, sera tortz e pecatz,

Quar tan no val neguna manentia

Endreit d' amor, com fis cors ses bauzia.

Pros comtessa, lo noms de Sobeiratz

Es luenh auzitz per totz et enansatz,

Per qu' ieu no m part de vostra senhoria,

Ni o farai aitan com vius estia.

//

https://en.wikipedia.org/wiki/Aimeric_de_Sarlat

Aimeric de Sarlat (fl. c. 1200) was a troubadour from Sarlat in the Périgord. According to his vida he rose by talent from the rank of jongleur to troubadour, but composed only one song. In fact, four cansos survive under his name.

The sole topic with which his surviving work is concerned is courtly love; he was an imitator of Bernart de Ventadorn. A fifth canso, "Fins e leials e senes tot engan", attributed in the chansonniers to Aimeric de Belenoi, has been assigned to Aimeric de Sarlat by modern scholarship, partly because it is directed to Elvira de Subirats, wife of Ermengol VIII of Urgell, to whom Aimeric de Sarlat had addressed his "Ja non creirai q'afanz ni cossiriers". An example of Aimeric's poetry:

Si saubesson parlan mei oill,

e.l cor, don tan soven sospir,

tot saupras quals son mei consir;

car la boca non a ges vassalatge

de vos dire zo don lo cor languis. . .

If you knew to speak to my eyes,

and to my heart, which so often sighs,

soon you would know all my worries;

for this the mouth has no authority

to tell you for what the heart languishes. . .

Aimeric was probably patronised by William VIII of Montpellier. One of his works may have inspired Denis of Portugal to compose a poem in Portuguese.

Lang, H. R. "The Relations of the Earliest Portuguese Lyric School with the Troubadours and Trouvères." Modern Language Notes, 10:4 (Apr., 1895), pp. 104–116.

Gui d' Uisel, Ussèl, Ussel

Gui d' Uisel.

I.

Anc no cugey que m desplagues amors,

Ni m tornes tan ad enuech ni a fays,

Quar manthas vetz ab me mezeis m' irays

Quar anc un jorn dezirei sas dolors;

Mas ieu cum folhs cujava fos honors,

Quar amava leyalmen ses bauzia;

Mas ara vey qu' en amar no m valria

Re menhs d' amor, per qu' ieu d' amar mi lays.

De totz mestiers es dessemblad' amors,

Quar menhs hi a de pro selh qu' en sap mays,

Qu' ab pauc de be fay los folhs ricx e guays,

E 'l profiegz es totz dels gualiadors,

Per que m sembla qu' amar sia folhors;

Doncx be mi suy entendutz en folia,

Qu' anc ses amor no saubi viur' un dia,

Ni anc ses ben tan de mal hom non trays.

Pero, si fos aitals cum sol amors,

Non dic ieu ges que la valgues nulhs jays,

Qu' ilh lonhava de cossirs e d' esmays

Silh qu' eron sieu, e 'ls teni' en doussors;

Pueys era pretz e largueza et honors,

Essenhamens, sabers e cortezia;

Que baisset tot quan falset drudaria,

E sinon tot, al menhs areire s trays.

Mas era es aitals tornad' amors

Qu' ans que sapchan quals es pros ni savays,

Volon amar las dompnas ab essays,

Per que camjon plus soven amadors;

Et esta piegz us usatges qu' es sors,

Que ses amor pot hom aver amia;

Non dirai plus, per que quar mielhs chastia,

Quant o ditz gen amicx, que quan s' irays.

Mas empero sitot m' a mort amors,

Si m dey tener qu' en trop dir no m' eslays,

Que ben leu er alcun amans verays

Cui seria mos castiars languors;

Et a fin drut deu hom faire socors,

E non blasmar tan cum sec dreita via,

Quar tot son dig e son afar perdria,

Entro s' amors per si mezeissa s bays.

E s' amors val, ylh val per Na Maria,

On es beutatz e cortezi' e jays.

II.

Ges de chantar no m falh cor ni razos,

Ni m falh sabers, si chans m' era grazitz;

Mas ieu era vas amor tan falhitz,

Per qu' ai estat marritz e cossiros;

E pus fagz m' es del falhimen perdos,

Deserenan mi coven a chantar,

Pus en mi dons puesc a totz jorns trobar

Novelh sen, novelha valor,

E beutat plus fina e maior.

Tan son plazens e bellas sas faissos

De lieis qu' ieu am, e bel parlars chauzitz,

Que quan la vei me cug far yssernitz;

Et ieu m' espert on plus m' a belh respos,

E de paor vau fenhen ochaizos,

Com s' ieu era vengutz per autre afar,

E tot aisso ven me per sobramar;

Que ja no m feira tal paor,

Si no m vengues de fin' amor.

Totz temps serai de preyar temeros;

Sabetz per que? quar sui d' amar arditz:

Quar miels quier hom un don quant es petitz,

No fai un gran don tug son enveyos;

E per aisso quar es tan rics lo dos,

Sitot lo m vuelh, ieu non l' aus demandar;

Pero be sai, s' elha lo m volgues dar,

Qu' ieu agra del mon la melhor,

Et elha 'l pus fin amador.

Ab meynhs de be me pogra far joyos,

Mas no m' en es tan de joy escaritz,

Ni non lo 'lh quier que non seri' auzitz,

Mas parli m' en quar en sui cobeytos;

Q' uzatges es d' ome qu' es amoros,

Quan plus non pot, se deleyt en parlar;

Et ieu sivals, pus al re non puesc far,

Ten mi lo parlar ad honor,

Mas paor mi fan parlador.

Sivals aitan dirai en mas chansos

Totz sos fins pretz es de fin joy guarnitz,

Se i fos merces qu' es de totz bes razitz;

Mas en lieys falh, et ieu volgra que y fos,

Quar trop hi ai gran dan manthas sazos;

Et enquer m' es plus greu a sufertar

Qu' om en mi dons puesca ren esmendar:

Mas ja no 'lh calgra esmendador,

S' agues merce de ma dolor.

Don' Alazaitz, d' aitan vos faitz lauzar

A tot lo mon, c' a mi non cal parlar;

Mas ja dieus no m don ben d' amor,

S' ieu non am pus bell' e melhor.

III.

L' autre jorn, cost' una via,

Auzi cantar un pastor

Una chanson que dizia:

“Mort m' an semblan traydor!” 

E quant el vi que venia,

Salh en pes per far m' onor,

E ditz: “Dieus sal mo senhor,

Qu' er ai trobat ses bauzia

Leyal amic celador,

A cui m' aus clamar d' amor.” 

E quant ieu vi qu' el volia

Far de s' amia clamor,

Ieu li dis, ans que plus dia,

Que sofr' en patz sa dolor,

Q' ieu l' am, e ges no volria

Fezes de son mal peior

Per dig de lauzenjador:

Qui ben ama ben castia,

E qui conorta folhor

Vol qu' om la fassa maior.

El pastre, qu' el mal sentia,

Tornet son cantar en plor,

E ditz: “Mout ai gran feunia,

Quar vos aug castiador,

Vos que dig avetz manh dia

Mal de donas e d' amor,

Per qu' ieu sui en gran error:

Ar sai que ver ditz Maria,

Quant ie 'l dis que cantador

Son leugier e camjador.” 

“Er auiatz tan gran feunia,

Fi m' ieu, d' aquest parlador,

Que quant ieu 'lh mostri la via

D' esser franc e sofridor,

M' apelhet de leujairia;

Mas ieu say sufrir aor

Tan que, quan prenc deshonor,

Dic que servit o avia;

Et apella m peccador,

Quan totz lo peccatz es lor.” 

Ab tan vi venir s' amia,

Lo pastor de culhir flor,

E viratz li tota via

Camjar paraula e color.

“Bella, si anc jorn fos mia

Ses par d' autre preyador,

Er no us quier autra ricor,

Mas del tort qu' ieu vos avia

Par vencuda e d' amor,

Tro que la m fassatz maior.” 

Elha respon al pastor

Que 'lh es sa leyals amia,

E feira 'lh semblan d' amor,

Si no li fos per paor.

Et ieu qu' era sols ab lor, 

Quan vi qu' enuey lor fazia, 

Laissiey lieys a l' amador, 

Parti m d' elhs, e tinc alhor.

//

https://en.wikipedia.org/wiki/Gui_d%27Ussel

Gui d'Ussel, d'Ussèl, or d'Uisel (fl. 1195–1209) was a troubadour from the Limousin. Twenty of his poems survive: eight cansos, two pastorelas, two coblas, and eight tensos, several with his relatives and including a partimen with Maria de Ventadorn. Four of his cansos melodies remain.

According to his vida, Gui was the youngest of three sons of a wealthy noble family of the castle Ussel-sur-Sarzonne, northeast of Ventadorn. He and his brothers Ebles and Peire, as well as his cousin Elias, are all reputed troubadours and castellans of Ussel according to the author of the vida, who makes Gui himself a canon of Montferrand and Brioude in the diocese of Clermont. Among his relatives Gui was known for his cansos. The only confirmation of Gui's family from outside his vida is a reference to the brothers Guido and Eblo Usseli donating land to the abbey of Bonaigue. Gui's biographer believed him to have been in love with Malgarita, wife of Rainaut VI, viscount of Aubusson. He supposedly later fell in love with Guillemette de Comborn, wife of Dalfi d'Alvernha, and composed many songs about her. Gui spent almost his entire life in the Limousin and Auvergne, rarely travelling abroad.

Gui addresses several of his songs to Maria de Ventadorn (including the partimen) and makes reference to Peter II of Aragon in one which survives with a melody. The reference to Peter's queen in the song's razo puts the date of its composition in 1204 or later, after Peter's marriage to Marie of Montpellier. His vida records how Gui obeyed a papal injunction from Pierre de Castelnau to cease composing in 1209 and the fact that none of his poems can be reliably assigned later than that date and none mention the Albigensian Crusade, it is probable that Gui did indeed obey papal orders and cease writing.

Gui's poetry to some measure imitates that of his contemporary Cadenet, whom he mentions in one piece. His melodies have something in common with those of Gaucelm Faidit, whom he may have met in Ventadorn. His melodies all stay within a minor tenth interval and use numerous thirds and traids, but never repeating phrases in the AAB form. His music is characterised by motivic variety and he has been praised for his "subtle and creative compositional faculty". The later troubadour Daude de Pradas referred to Gui in a tenso and his melody has given some indication that it may have been influenced by those of Gui.

Gui's works were reproduced in the anthology of Ferrarino Trogni da Ferrara.